Lynne has said that he regrets his original vocal take on the released song, saying in 2015 'I really messed up the original on Out of the Blue. In the final two minutes, the previously stripped-back arrangement is augmented with increasingly large layers of guitars and vocal harmonies, building to a 'grand finish'.

'Steppin' Out' is a 'tender ballad' with lyrics about leaving home. 'Believe Me Now' is a short, 'dramatic' interlude dominated by piano, orchestra, and vocoder that serves as an introduction to the following song. The song is divisive among fans, with some seeing it as 'an unworthy novelty'. 'Jungle' takes a stylistic left turn, featuring ' Tarzan effects, trumpeting elephants, a talking line, and a Terpsichorean interlude' that Delve describes as part of the song's 'unashamed goofiness'. something like Al Green.' ELO historian Barry Delve describes the song as having a 'dreamy night-time vibe'. ELO drummer Bev Bevan said that the song was 'meant to have a rhythm and blues feeling to it. The song 'Starlight' was inspired by 'the night stars in the mountains of Switzerland'. Kachejian said that 'the song’s chorus and verses, bridge, innovative introductions and ending made for one fun ride.' The song begins with an unusual segment where keyboardist Richard Tandy's keyboards emulate 'the noise and cacophony of busy traffic', combined with 'frenzied' string sections invoking 'the oppressive atmosphere of being trapped in a city that never sleeps'. Side 2 begins with 'Night in the City', which Classic Rock History critic Brian Kachejian rated as ELO's 5th greatest song. The song itself takes on a 'Mexico-infused' style with a verse melody reminiscent of the Beach Boys's song ' Heroes and Villains', and Lynne and Groucutt singing in harmony in a 'staccato' vocal style. 'Across the Border' begins with the same 'clanging train' sound effect used on the ABBA song ' Nina, Pretty Ballerina' and a violin solo by Mik Kaminski. Billboard described the song as a 'catchy rocker characterized by semi-classical elements.' Guarisco attributed its disco sound to ' Bev Bevan's steady drum work' and 'pounding piano lines, delirous bursts of swirling strings, and endlessly overdubbed backing vocals mesh seamlessly to form an ornate but driving funhouse of pop hooks'.

' Sweet Talkin' Woman' serves as the band's 'first real step into the disco sound a string-laden pop tune whose dance-friendly edge helped it become a disco-era hit'. Cash Box said that it begins 'with simple chording which opens to a strumming beat' and that the ' strings add panorama' and that 'the vocals are characteristically crystalline and soaring.' The following track is ' It's Over', which takes on what Billboard Magazine described as a 'classical feel'. The song features a 'tongue-twister section' where the song 'stops dead', leaving only 'slightly phased' vocals punctuated by Bev Bevan's drum hits. Guarisco as 'a good example of Electric Light Orchestra's skill for mixing string-laden pop hooks with driving rock and roll', praising the 'array of swirling string lines that dart in and out of the mix and some dazzling falsetto harmonies that interact with Lynne's lead vocal in call and response style'. The opening track, ' Turn To Stone', was described by Donald A.

Out of the Blue was one of the first pop albums to have an extensive use of the vocoder, and helped to popularize it.

Electric light orchestra starlight